João lives in São Paulo. He goes through a series of encounters with people like his long-time friend Irene; his boyfriend Álvaro; Matias, a young man he meets in the subway and has a sexual experience with, among others, some acquainted, some unknown.
Passion and love are told of by two intersecting relationships and a sad ballad: Merencória.
Three stories with no apparent connection between them, with only one thing in common: a deep dramatic observation of motherhood. Trying to fit The Moving Creatures in a cinematographic drawer is letting a film that is not afraid not to fit in formal territory slip away. Caetano Gotardo was fearless and jumped all boundaries to explore territories that interested him. In this almost Greek tragedy in III acts, the monstrosity of each action is totally overwhelmed by maternal love and shaped by romanticism. Cruelty is, indeed, in daily gestures, in the return to banality after an event that destroys all foundations. (M. M.)